Max Headroom - Rehashed Pilot
by ElegantButler
Summary: This is a 'televised' re-telling of the creation of Max. There are many differences including Bryce's origins and the inclusion of Paddy Ashton (friend and rival of Edison Carter), and Paddy's Controller Arlene Dunham.
1. Chapter 1

EXT: FRINGES AND CITYSCAPE

ZOOM TO:

THE EDGE OF THE CITY. A BOY OF SIXTEEN IS LEANING AGAINST A WALL

HE IS USING A TRASH-FIRE TO KEEP WARM. THERE IS A MIXTURE OF HUNGER, THIRST,

INTELLIGENCE, AND THE KIND OF PAIN THAT COMES FROM HAVING TO SELL ONE'S BODY

IN ORDER TO SURVIVE, AS DISTASTEFUL AS IT MAY BE.

BRYCE

(SHIVERS AND RUBS HIS HANDS OVER THE TRASH-FIRE. HE LOOKS IN THE DIRECTION OF THE WHORE-HOUSE HE HAS ESCAPED FROM JUST A FEW DAYS AGO. THEN, HE TURNS TO LOOK AT...)

CUT TO:

EXT: NETWORK 23. THE CAMERA MOVES TOWARD IT AND

CUT TO:

INT.

WE ARE IN THE CONTROL ROOM AT NETWORK 23. A BALDING MAN IN HIS LATE 40S HAS HIS EYES ON SEVERAL TELEVISION SETS. EACH ONE IS SHOWING A DIFFERENT REPORTER.

EACH REPORTER IS BEING HANDLED BY A CONTROLLER. TWO OF THESE CONTROLLERS ARE THEORA JONES AND ARLENE DUNHAM. THEIR RESPECTIVE REPORTERS ARE EDISON CARTER AND PADDY ASHTON.

MURRAY

Miss Jones. What's Carter's angle for tonight's show?

THEORA

He wants to focus on how television as a medium has taken the focus off of entertainment in general for the sake of advertising.

MURRAY

They're not going to like that up at the top.

THEORA

Since when has that ever bothered Edison Carter?

MURRAY

What about you, Miss Dunham? What has Mr. Ashton got for us?

ARLENE

He's doing a show about the new vehicles they're preparing for next weekend's scumball game.

MURRAY

Excellent. At least that'll sooth Cheviot's nerves, which I'm certain Edison Carter will frazzle quite a bit with his report.

FADE TO:

EXT.

ZIK ZAK. IT IS DARK AND THE NEW TOKYO SKYLINE IS BRIGHT

WITH NEO SIGNS. SOME STEADY. OTHERS FLASHING.

ZOOM TO:

INT. ZIK ZAK. BOARD ROOM. THE ROOM IS CLEAN. THERE IS VERY LITTLE ORNAMENTATION, SAVE FOR A FOUNTAIN IN THE CORNER ADORNED WITH BONSAI TREES AND FLAT PEBBLES.

PED XING

(SITS CALMLY AT THE HEAD OF THE TABLE. HIS SMALL STATURE HIDES A MAN OF GREAT POWER AND CAPABILITY.)

MR. KIYOKO

I do not approve of Mr. Carter's choice of topics. We must keep a lid on any broadcast which threatens..

PED XING

And tell me. What do you suggest, Kiyoko-san? Shall we send our Yakuza after Mr. Carter? There are very few assassins in Neo London who aren't working for at least one of the Networks.

MR. KIYOKO

We might consider hiring from the Blanks. They have no love for the Networks.

MR. SAKAMOTO

There are rumors of a pair that might fit our plans. Their true names are not known.

PED XING

How do we find these unknowns?

MR. SAKAMOTO

They call themselves Breughal and Mahler.

FADE OUT.


	2. Chapter 2

FADE IN:

EXT. EVENING

A GREY VAN IS MOVING SLOWLY ALONG THE STREETS. WE ZOOM TOWARD THE VAN AND TO...

CUT TO:

INT.

THE VAN IS FILLED WITH HEAVY-DUTY PLASTIC BAGS. SOME ARE EMPTY. MANY MORE CONTAIN VARIOUS BODY PARTS.

TWO MEN ARE IN THE VAN. ONE WITH SHORT SCRUNCHED HAIR IS DRIVING. THE OTHER, SPORTING A YELLOW AND BLACK MOHAWK, IS BAGGING A FEW BODY BITS AND HUMMING QUIETLY TO HIMSELF.

BREUGHAL

(IS ON THE PHONE)

Hold on. Won't be a moment.

MAHLER

(LOOKS UP AT BREUGHAL)

BREUGHAL

(GLARES AT MAHLER)

I'm conducting business of an important nature.

(returns to phone call)

So sorry about that, sir. Now, what can I do for you?

INT.

ZIK ZAK. SAKAMOTO'S OFFICE. IT IS VERY SIMPLE AND INCLUDES A DESK, CHAIR, AND VU-PHONE.

MR. SAKAMOTO

I represent a group of important people who are interested in hiring you to swat a rather pesky gadfly. I trust this will not be a problem for someone of your talents?

CUT TO:

INT.

BREUGHAL'S VAN.

BREUGHAL

Oh, no sir. Not difficult at all. I assume you are familiar with our regular fees?

CUT TO:

INT.

SAKAMOTO'S OFFICE

MR. SAKAMOTO

I am authorized to double it.

CUT TO:

INT.

BREUGHAL'S VAN

BREUGHAL

We are grateful for your business, sir. Now, which gadfly would you like us to swat?

DISSOLVE TO:

INT.

NETWORK 23. CONTROL ROOM.

MURRAY

Cheviot's not happy about this, Edison.

EDISON

When is Cheviot happy about anything? You know this is a good report. The viewers will love it. That's what's important.

MURRAY

Cheviot's concerned that a report like this will turn some viewers away.

EDISON

Our ratings go up and down every day. Why should it bother him now?

THEORA

I think what Murray is referring to are certain viewers in New Tokyo

EDISON

You mean Zik Zak.

MURRAY

That is exactly what I mean.

EDISON

(picks up vidicam)

You know my opinion of corporate threats.

(exits the CONTROL ROOM)

CUT TO:

EXT.

WE FOLLOW EDISON ALONG THE STREETS. HIS DESTINATION IS NEARBY SO HE IS WALKING INSTEAD OF RIDING IN THE NETWORK HELICOPTER.

DISSOLVE TO:

INT.

CONTROL ROOM. AT THEORA'S CONTROL DESK

THEORA

Edison! There's a grey van. I think it's following you.

EDISON

(on Theora's screen)

Oh, great.

THEORA

I'll see if I can find out who owns it. It might just be a fan.

EDISON

(On screen)

Well, let me know soon. I'll need to find a pen just in case they want an autograph.

THEORA

(Types in the van's description. Frowns.)

Edison. That van is trouble. You'd better find a place to duck into until help arrives.

CUT TO:

EDISON

I can handle a thug or two.

The van door suddenly opens. MAHLER leaps out with a long thick chain which he is swinging wildly. Breughal hops out of the driver's seat with a truncheon.

BREUGHAL

A lovely evening for a stroll, isn't it, Mr. Carter?

EDISON

And whom do I have the pleasure of addressing?

CUT TO:

THEORA

Careful, Edison.

CUT TO:

EDISON

Don't worry, Control...

MAHLER's chain wraps around the camera. MAHLER tries to yank the camera out of EDISON's hand while BREUGHAL approaches EDISON from behind.

BREUGHAL

(Hits Edison over the head with the truncheon)

Sleep well, Mr. Carter

EDISON

(Focuses on the sign at the entrance of the garage he is only a few meters away from. It read MAX HEADROOM 2.3m)

FADE TO BLACK.

um... okay...


	3. Chapter 3

FIT THE THIRD

INT.

CONTROL ROOM. THEORA'S DESK.

THEORA

(Tapping frantically on her keyboard.)

Where is he?

MURRAY

Keep looking. He's got to be around somewhere.

THEORA

(After continuing for several more seconds)

Nothing. Damn it.

MURRAY

Relax. Don't swear. We'll find him.

CUT TO:

EXT.

PARKING GARAGE. EDISON IS LYING THERE.

EDISON

(Awakens. Sits up.)

What happened?

(Looks for camera. It is gone.)

Aw, damn it. Cheviot's gonna kill me for this.

TOM

You're already lucky to be alive, young man.

EDISON

And you are...

TOM

Tommy J. A 're lucky ol Tom Cat was around. Those two don't usually leave nothin' livin'.

EDISON

Thanks.

TOM

What's a house-cat like you doing out in these places anyhow?

EDISON

Great. I can't even remember what I came here for.

TOM

Why not just call and ask your friends?

EDISON

Can't remember the number. It's right there, but every time I try to pull it up in my head it just goes away again.

TOM

Probably something to do with that bowling ball on the back of your head.

EDISON

You think?

CUT TO:

INT.

CONTROL

ARLENE

Hey. Why don't I send Paddy out to look for Edison?

MURRAY

Brilliant!

THEORA

That's a great idea!

PADDY

Get Martinez. We can cover more ground if we take the chopper.

CUT TO:

Paddy runs to the lift and gets inside.

CUT TO:

EXT.

THE CHOPPER IS ALREADY RUNNING AND READY.

PADDY

Let's go, Martinez! Edison needs our help!

MARTINEZ

(works the controls of the chopper.)

When is he not in trouble? I've done more rescue missions for that guy then I've ever done in the war.

CUT TO:

INT.

CONTROL

MURRAY

Good luck, you two.

CUT TO:

EXT.

NETWORK 23. THE NETWORK HELICOPTER TAKES OFF.

DISSOLVE TO:

INT.

OLD ABANDONED MALL.

TOM

This way.

EDISON

Are you sure this guy can help?

TOM

Yeah. He's brilliant.

EDISON

And you know him how?

TOM

Don't ask.

EDISON

So is he another Blank?

TOM

Yeah. For personal reasons. Very personal. Oh, and just don't stare or comment on his clothes too much. They're all he's got right now.

EDISON

Well, if he's as smart as you say, I'll pay him enough to buy a whole new wardrobe.

TOM

I'm sure he'd appreciate that.

WE FOLLOW EDISON AND TOM TO...

INT.

TECHNOLOGY SHOP.

BRYCE

(looks up at security mirror)

I'll be right with you. Just finishing up this little project.

(does a little more work on the computer in front of him.)

TOM

HI, Bryce.

BRYCE

Hello, Tom Cat. Isn't that Edison Carter with you?

EDISON

I am.

BRYCE

Well, I've got a pretty good story for you.

EDISON

I'm already working on something. I just can't remember what.

BRYCE

I'll make a deal with you. You tell my story, and I'll retrieve your memory.

EDISON

How can you do that?

BRYCE

Do you understand how a binary computer works?

EDISON

Sure. Ones and zeroes turn a series of switches on and off.

BRYCE

(smiles)

Exactly.

(polishes his glasses. Returns them to his face.)

The brain works in the same basic manner. All I need to do is link up your brain to the computer.

EDISON

How do you know it will work?

BRYCE

Well, I've only done a preliminary test on a baby parrot. There's about a dozen or so birds in the old pet store.

(shows Edison a parrot on the screen in front of him)

EDISON

Where does the image come from?

BRYCE

It is simply the bird's self-perception translated into data.

EDISON

So my face would also appear on screen.

BRYCE

Exactly. So, do we have a deal?

EDISON

Maybe. What's your story anyhow?

BRYCE

Have you ever heard of a place called The Scarlet Room?

FADE TO BLACK.

yeah right


	4. Chapter 4

FIT THE FOURTH

FADE IN:

INT.

BREUGHAL'S VAN. THE VAN IS STOPPED. BREUGHAL AND MAHLER ARE SEALING AND MARKING THE VARIOUS BIT BAGS.

BREUGHAL

How many arms is that?

MAHLER

Seven arms. Four legs. And one right hand.

BREUGHAL

Only seven arms? You're sure?

MAHLER

Yeah. Third one we got only had one arm. War Vet. Shame about him.

BREUGHAL

Yeah. If he hadn't got a dishonorable we might've got a few extra quid for him.

MAHLER

(nods)

Just can't get good pay for the bits anymore. Shame about that reporter.

BREUGHAL

He'd have fetched a prize, that's for certain. Well, we'll just have to try again.

CUT TO:

INT.

MALL TECH SHOP AKA BRYCE'S PLACE

EDISON

How old were you when you ended up in the Scarlet Room?

BRYCE

Just short of my tenth birthday. It was a nightmare.

CUT TO:

INT.

CONTROL ROOM

THEORA

(stares at the screen in horrror)

Poor kid.

MURRAY

(to himself)

Stick with it, Edison. This is a good one. They'll love it upstairs.)

THEORA

How could anyone do something that vile?

CUT TO:

INT

BRYCE'S PLACE

EDISON

(horrified)

Ten?! What made you go there?

BRYCE

Well, you have to understand that I didn't know what type of place it was until I walked in the door.

EDISON

Yeah. I understand that. But why check it out?

BRYCE

I was trying to earn some money to attend the Academy.

EDISON

Which Academy?

BRYCE

ACS. The Academy of Computer Sciences.

EDISON

That's pretty expensive.

BRYCE

Exactly. And my folks didn't make a lot of money. So they couldn't afford to send me.

EDISON

What about scholarships?

BRYCE

They don't give scholarships to Fringers like me.

EDISON

So you tried to earn your own way through...

BRYCE

And ended up working in a brothel instead.

TOM

And not doing secretarial work.

BRYCE

Tom was a real life-saver. He couldn't rescue me. But his visits were always a relief. He never touched me. Just gave me a break from all the hell I was otherwise forced to endure.

TOM

It wasn't right for you to be there, Bryce.

EDISON

Sounds to me like they kidnapped you.

BRYCE

They basically did. What really hurts, though, is that no one ever came to save me. Not my parents or so-called friends.

EDISON

Maybe they couldn't afford to buy law?

BRYCE

What about searching themselves?

TOM

It's not always as simple as that.

BRYCE

I never want to go back there again.

EDISON

I promise. You won't have to.

stupid window


End file.
